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Artists CV    artwork



Distinction in Fine Art, BA.
(Painting & Printing)
Croydon College of Art 1971-1976
Head of painting: John Bellany
External Assessor: Gillian Ayres
Certificate in Digital Origination (1997-1998) and Media 1999/2001
London Colledge or Printing (Computer)
Head of Course: Les Claridge

Various private and corporate collections.
London, England, Spain, France, Germany, Italy, USA (Harvard University),
India, (Bombay), Rio Janeiro, Brazil.

Red Gate Gallery: One Man Exhibition "The Maps of Disease" London.2005
The Station Gallery: One Man Exhibition "Inner Landscape" London, 2004.
The Gallery : One Man Exhibition: Great Ormond St, Hospital for Children. London, 2001
School of Origional and African Studies. Queen Mary College, London,
One Man Exhibition 2001
The Diorama Gallery: One Man Exhibition: “The Threshold” 1997
Bedford Hill Gallery : One Man Exhibition “Realignment” 1993
St Thomas Hospital : One Man Exhibition: “Entrances” 1991
Bedford Hill Gallery : One Man Exhibition: "Entraces” 1899

Morley Gallery "Out of the Blue" 2013
V&A’s Digital Design “Artificial Intelligence” 2012
The Stableyard: Group Exhibitions. 2010-2012.
Duke of Edindorough Group 2010-2012.
tactileBOSCH: "an - Aesthetic" Cardiff, Wales. 2008
(Funded by Wales Arts)
Brighton Art Fair: Christmas 2005 Exhibition. 2005.
"On the Wall": Art for Original World, Olympia, London. 2004.
Parade Mews Studio : Group Exhibitions 1995-2008 Yearly .
Red Gate Gallery: Group Exhibition. 209a Coldharber Lane Brixton, London. 2003 Group Exhibition (5 artists)
"The Atrium Gallery: "Invisible Body" 2000 (12 contemporary artists in partners with 12 medical scientists).
Brixton Art Gallery : “Objects of Time” 2000 (5 artists)
London College of Printing : “ Other worlds into your world” 1998
Market Place Gallery : Summer Exhibition 1998 ( Art Exposure)
Islington & Highgate Gallery : Mixed Exhibition 1998
The Gallery :"Layer of Abstraction" 1997
International Art Consultant Ltd : London Art House 1997
Christies: The Critics Choice. "New British Art” 1993
Collier-Bristow Gallery:
Summer Exhibition 1993
Christmas Exhibition 1993-94
Bedford Hill Gallery : 1988-1993
One Man Exhibitions (see above)
Group Exhibitions 1988-1993
Art in Prison: Tour 1992/3
Dagmar Gallery :”Two Men“ Exhibition 1992
Smiths Gallery : Contemporary Lithography ( Exhibition 1992)
Eva Jekel Gallery “ Summer Exhibition" 1991 (Group Exhibition 1991)
Unit 14 Studio: Regular Exhibitions in Group Shows 1986-1989 (Funded by Lambeth Arts
London Group : Royal College of Art 1985
Five Dials Gallery : Seven Artists 1985
Acme Gallery : Four Painters 1984
West Norwood Gallery :Three Painters 1984 (Funded by Lambeth Arts)
Brixton Co-operative Gallery : Regular Exhibitions Group Shows 1982-1984

"Drug Story": T.V. Film. Directer: Tom Pollock. Artwork: David Jane. 2002
"Bug-Starl". Film, Lunatic Vision. Artwork: David Jane. 2002
Theatre: “Lermontov” Design Stage Set Production (Touring 1988)

ART and MEMORY : Neurocase 2000
Dr Nicola Stanhope and Dr Michael D Kopelman
SUBJECTIVE / OBJECTIVE : Art News Magazine 2000
Rebecca Forley
ART to SCIENCE / SCIENCE to ART : Hotshoe 1999
Chris Townsend
INNER VISIONS : New Scientist 1998
Simon Ings
“40 ART-SCI”: The Wellcome Trust 1997
Dr Kopelman
SEARCHING FOR MEMORY : Basic Books America 1996
Daniel L Schacter
‘THE CRITICS CHOICE’ : New British Art Christies 1993
Charles Hall
ARTICLE OF FAITH : Art Review 1993/97
Charles Hall
ART AND MIND: British Medical Journal 1993
Charles Hall

David Jane
David is a painter, sculptor and printmaker from London whose work has appeared in a number of galleries, including the Welcome Collection. After an experience of suffering encephalitis which caused a loss of memory and speech, he turned to the scans of his brain for inspiration and to understand how the incident could be communicated and understood.
The works submitted are purely digital in final form but started their life as paintings combining pigment with wax. David then photographs the paintings and works on them digitally, manipulating and layering the images until they become something new. These layered digital paintings create pictures inside pictures, refracting spaces and fading environments, mimicking memory and our imperfect recollections. By Alex Flowers, Digital Programmes Manager, V&A.

“It is possible to trace Jane’s developing attitude to his experience and his increasingly controlled and vivid handling of his material.
One series presents sequences of imagers, homing in on particular structures. The darkness like approaching headlights in some surreal storyboard.
The new, forceful draughtsman ship is reinforced by an inspired use of colour, breaking through those powdery surfaces. To say that the end result can sometimes recall the intensity of Sutherland or Bacon is to stray into a somewhat bloodless, theoretical world. But it might be truer to the experience to say that sometimes one feels the artist has rubbed flesh directly into the surface of the canvas. And that, despite this, the work remains both disciplined and beautiful.” Charles Hall - Art Review.

Recently, the work has begun to suggest another, more surprising journey; from the structures of the brain to the structures of the mind. The more detailed his portraits become, the more apparently abstract they are. It is as though, the deeper he goes, the closer he comes to painting, not things, but visual ideas. “We can meld science and art together,” says Jane. “And we’ll do that not to obscure what’s going on, or prettify it, but to make it clear. I want to open the doors of understanding into the scientific interpretation and the artistic vision so that people can see them as things of beauty as well as knowledge.”
Jane’s work far exceeds these stated ambitions. “When you look at David Jane’s work.” Says Denna Jones, curator at the London-based Wellcome Centre for Medical Science, “your reactions aren’t anything to do with the disease. It’s not even to do with that interest in body-mapping you see so much of these days. It’s simply a continuation of self-portraiture - part of a tradition five centuries old.” If the 18th-century painter William Hogarth had had access to the technology Jane’s uses, “he’d probably have done the same thing" Simon Ings - New Scientist.